Category Archives: Audio Processing

You know, I kept seeing that 3D stuff, and seeing that 3D stuff, and never getting it. Then I saw the same clips with a great audio system, and what do you know…the pictures looked better. 

Deep Immersive Sounds, Plus…Cool Interview

As everyone knows, the First Rule of Fight Club is that you don’t talk about the Committee Work of the Society of Motion Pictures and Television Engineers. So, although Atmos Sound has been around since shortly after the CinemaCon 2012 introduction, with about 4,000 installations by now, and DTS showed their iteration of the Open Source MDA Object Oriented sound, DTS:X, at CinemaCon 2015…and Barco bought the Iosonno rights up about that same time to augment the Auro system with object oriented sound …one heard nary a word out of the committee halls of SMPTE about the known Immersive Audio objective: a single standard format for immersive sound so that any mix will play in any theater, regardless of the manufacturer of the compliant rendering system it was playing on.

And now that has changed: The first 3 SMPTE documents have been released toward that immersive effort. They won’t be interesting to anyone who isn’t making a rendering device since they merely (merely, the editor scoffs) describe the bitstream, establishes the metadata, and defines the names of the sound field groups and channels that make up an immersive track. 

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Deep Immersive Sounds, Plus…Cool Interview

As everyone knows, the First Rule of Fight Club is that you don’t talk about the Committee Work of the Society of Motion Pictures and Television Engineers. So, although Atmos Sound has been around since shortly after the CinemaCon 2012 introduction, with about 4,000 installations by now, and DTS showed their iteration of the Open Source MDA Object Oriented sound, DTS:X, at CinemaCon 2015…and Barco bought the Iosonno rights up about that same time to augment the Auro system with object oriented sound …one heard nary a word out of the committee halls of SMPTE about the known Immersive Audio objective: a single standard format for immersive sound so that any mix will play in any theater, regardless of the manufacturer of the compliant rendering system it was playing on.

And now that has changed: The first 3 SMPTE documents have been released toward that immersive effort. They won’t be interesting to anyone who isn’t making a rendering device since they merely (merely, the editor scoffs) describe the bitstream, establishes the metadata, and defines the names of the sound field groups and channels that make up an immersive track. 

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Get Your HI Tracks On

The transition from 8 channels to 16 channels of audio in the digital cinema domain has brought a surprising amount of angst recently. Actually, it was only a proxy for the entire transition from the nothing-but-potential era of 10 years ago, through what was called the InterOp Standard and into a set of standards created by the SMPTE.

This transition has been mirrored in the world of the deaf and hard of hearing as it relates to the digital cinema world.

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Get Your HI Tracks On

The transition from 8 channels to 16 channels of audio in the digital cinema domain has brought a surprising amount of angst recently. Actually, it was only a proxy for the entire transition from the nothing-but-potential era of 10 years ago, through what was called the InterOp Standard and into a set of standards created by the SMPTE.

This transition has been mirrored in the world of the deaf and hard of hearing as it relates to the digital cinema world.

[……]

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Alan Parsons Gets Creative Review

If you are one of the many people working in film and broadcast that has been wanting to sharpen your skills in audio production — or just become more aware of its principles and dynamics — I’d like to point out a series that is near to guaranteed to expand your working knowledge of audio. I know of experienced engineers who admit to having learned new tricks from it.

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Alan Parsons Gets Creative Review

If you are one of the many people working in film and broadcast that has been wanting to sharpen your skills in audio production — or just become more aware of its principles and dynamics — I’d like to point out a series that is near to guaranteed to expand your working knowledge of audio. I know of experienced engineers who admit to having learned new tricks from it.

[……]

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CML Artists on Music Libraries

An editor posted a question on the Cinematography Mailing List (CML), first bashing music library companies, and their needs and methods – closing with “…are music library licenses a scam?”

It was great to get some very reasoned views on the issue. For those who aren’t on the CML list (Subscribe here), here are some excepts. [Editor: If we can get permission from the CML and the authors, we’ll attribute the quotes and expand the excerpts.]

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